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Tariq Ramadan attempts to demonstrate, using sources which draw upon Islamic thought and civilization, that Muslims can respond to contemporary challenges of modernity without betraying their identity. The book argues that Muslims, nurished by their own points of reference, can approach the modern epoch by adopting a specific social, political, and economic model that is linked to ethical values, a sense of finalities and spirituality. Rather than a modernism that tends to impose Westernization, it is a modernity that admits to the pluralism of civilizations, religions, and cultures. Table of Contents: Foreword Introduction History of a Concept The Lessons of History Part 1: At the shores of Transcendence: between God and Man Part 2: The Horizons of Islam: Between Man and the Community Part 3: Values and Finalities: The Cultural Dimension of the Civilizational Face to Face Conclusion Appendix Index Tariq Ramadan is a professor of Islamic Studies at the University of Oxford and a visiting professor in Identity and Citizenship at Erasmus University. He was named by TIME Magazine as one of the one hundred innovators of the twenty-first century
Since Europeans first colonized Arab lands in the 19th century, they have been pressing to have the area's indigenous laws and legal systems accord with Western models. Although most Arab states now have national codes of law that reflect Western influence, fierce internal struggles continue over how to interpret Islamic law, particularly in the areas of gender and family. From different geographical and ideological points across the contemporary Arab world, Haddad and Stowasser demonstrate the range of views on just what Islam's legal heritage in the region should be. For either law or religion classes, Islamic Law and the Challenges of Modernity provides the broad historical overview and particular cases needed to understand this contentious issue. Visit our website for sample chapters!
"An American physicist with a secular orientation who was raised in Turkey critiques attempts to import Western secularism into Muslim societies and offers an appreciation of Muslim forms of adapting to the modern world"--
Reforming Modernity is a sweeping intellectual history and philosophical reflection built around the work of the Morocco-based philosopher Abdurrahman Taha, one of the most significant philosophers in the Islamic world since the colonial era. Wael B. Hallaq contends that Taha is at the forefront of forging a new, non-Western-centric philosophical tradition. He explores how Taha’s philosophical project sheds light on recent intellectual currents in the Islamic world and puts forth a formidable critique of Western and Islamic modernities. Hallaq argues that Taha’s project departs from—but leaves behind—the epistemological grounds in which most modern Muslim intellectuals have anchored their programs. Taha systematically rejects the modes of thought that have dominated the Muslim intellectual scene since the beginning of the twentieth century—nationalism, Marxism, secularism, political Islamism, and liberalism. Instead, he provides alternative ways of thinking, forcefully and virtuosically developing an ethical system with a view toward reforming existing modernities. Hallaq analyzes the ethical thread that runs throughout Taha’s oeuvre, illuminating how Taha weaves it into a discursive engagement with the central questions that plague modernity in both the West and the Muslim world. The first introduction to Taha’s ethical philosophy for Western audiences, Reforming Modernity presents his complex thought in an accessible way while engaging with it critically. Hallaq’s conversation with Taha’s work both proffers a cogent critique of modernity and points toward answers for its endemic and seemingly insoluble problems.
This book challenges prevalent Western media and popular interpretations of Islam. Through a political and historical analysis of Saudi Arabia, Iran, and Pakistan—countries that represent the religious, ethnic, and ideological spectrum of the Muslim world—it explores whether or not Islam as a political religion and civilization can provide a preferable alternative to Western capitalist democracy. Sayeed argues that although Islamic fundamentalism, particularly in its militant and violent form, lacks the potential to become such a system, some of the major Islamic ideas, if reinterpreted and reformulated, can provide a viable alternative to Western political and economic dominance, especially in the Middle and Near East.
Why and how did Islam become such a political force in so many Muslim-majority countries? In this book, Jocelyne Cesari investigates the relationship between modernization, politics, and Islam in Muslim-majority countries such as Egypt, Iraq, Pakistan, Tunisia, and Turkey - countries that were founded by secular rulers and have since undergone secularized politics. Cesari argues that nation-building processes in these states have not created liberal democracies in the Western mold, but have instead spurred the politicization of Islam by turning it into a modern national ideology. Looking closely at examples of Islamic dominance in political modernization, this study provides a unique overview of the historical and political developments from the end of World War II to the Arab Spring that have made Islam the dominant force in the construction of the modern states, and discusses Islam's impact on emerging democracies in the contemporary Middle East.
Based on Islamist writings, political tracts, and interviews with Islamists, this book examines Muslim-Christian relations in Egypt from the perspective of Islamic conceptions of citizenship, and provides non-Muslim responses to those views.
This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.
The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.
Voicing at least two Muslim opinions in each area of debate, this book challenges the idea that all Muslims think identically. While Muslims and Modernity is designed primarily for use an undergraduate textbook, reference to accessible Internet material,